Showing posts with label Juliette Binoche. Show all posts

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At the press conference of 'Clouds of Sils Maria' Friday

Q: How it was to work with Kristen Stewart and Chloe Grace Moretz?

Juliette: That was easy even if they have completely different working methods. Kristen, we had a lot of scenes together, so we needed to spend time together, to rehearse together. We spent a few hours rehearsing and I realized it was not her cup of tea. She doesn't like rehearsing. In the morning, she would read the script and she would know the text. Just like that. I'm not like that. I need to work for months beforehand. But we spent a lot of time together in "real life" so to speak and there's between us an authentic understanding of who we are respectively. Chloe, she works a lot. She comes on set with her family. She has her gang! She is very open to all suggestions. Chloe and Kristen both have started this job very young. This filming was really a joy. There was both humor, hatred. We were really immersed in a vortex of emotions and actors like emotion.

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Olivier Assayas talks about Kristen with Cinema.n l@5:31

"Kristen, she’s a professional. Very little if no rehearsals. She arrives on set ready and prepared and switched on, which is not always the case [with actresses]."

"For someone to experience that level of fame, that spotlight...you don’t know what it’s like until you have been there. I commend her for how fantastic an actress she’s remained, and become."
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Chris Weitz talks a bit about Kristen at his latest book signing.


Elle UK asked Jesse Eisenberg about Kristen.

'She's phenomenal. We have a wonderful working relationship - we treat things the same way & have the same taste.'

Jenny Lewis talks 'Just One of the Guys' and mentions Kristen  -- @ 0:58





Sils Maria Talks About Kristen



In "Sils Maria» Your assistant is played by Kristen Stewart, who is a huge star herself thanks to the "Twilight" movies.
Yes. And she works quite differently than I do. She can, for example, read her lines three times in the morning and then knows it perfectly in the afternoon. That is not how it work for me. I look at the texts well in advance and always come back to it. I this so that it doesn't just stick to the surface.

Does Kristen Stewart work superficially?
Not at all. Just different. She may be only 24, but already has a lot of experience. The biggest difference: she was constantly communicating online with her friends.

Also in the Engadin?
Yes, she is so crowded by the outside world that she must isolate herself and create her own intimacy. I understand that. But it's not for me. I'm not on Facebook, not on Twitter.


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“When the camera was on Kristen, sometimes I dared to push her. I would go and go and go. Kristen has an amazing potential, but she needs to open up, she needs to get in more. So when you see that, you want to help, you want to go for it.”

Did Binoche push Stewart to new heights by shoot’s end?

“She said that, and she knows it,” Binoche replies. “Between actors, there’s often the back and forth. You’re trying to see where you can go together. That’s the joy of movies or theatre — otherwise I’d be alone in my studio working on my paintings.”

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@8:53


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You had a cameo in Cosmopolis, playing Robert Pattison's art dealer and lover …

That was great. I was astonished to see how much of a cinephile Robert was, and how ambitious – he wants to produce and has strong views of what he wants to do in the movie world.

He's been going through a tough time …

Well I witnessed Jude Law going through hell as well – it can be a nightmare when people have to deal with their intimacies in public. It's not respectful, so I felt for him and for her [Kristen Stewart] as well.

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Rough translation via google

I'm 41 years and I understand what is the problem, says her/his character in the film. Life is too contemporary.

Don DeLillo's writing - and the film is very faithful to the novel - it was for me the extraordinary discovery of a universe.

A cold world, without humanity. That forces us to face the nightmare of desire, anxiety to possess everything, the obsession to win, to climb higher up, looking for a "more" is not there.

Although his character is very contemporary, mixing sex and business, and perhaps no longer believe in anything, not even art. What effect did it?

Didi Fincher is a lost woman, just like Eric Packer is lost. It's just one person, its apparent weight is actually a hiding place where reigns anxiety. Cosmopolis speaks of our need to procure money, sex, power and mix everything. A very dangerous game.

Io Donna: Robert Pattinson, who is the lead in Cosmopolis, is a global icon, a living image of beauty and youth. A perfect choice.

Juliette: I met Robert for the first time on set. I must admit that I had not seen his films. And I found in him a fierce passion for cinema, he knows the cinema much better than me. It was lovely and fun to work with him, he's a man who's very ambitious to produce and direct his films one day.

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Let’s talk about your upcoming David Cronenberg–directed film, Cosmopolis, which stars Robert Pattinson. What’s your role?

I’m an art dealer. I only shot two days. The whole film takes place in a car. There are some scenes outside, but mostly it takes place in a limo. Cronenberg placed Robert on one seat, and I was the mover in the scene, so he let me improvise. It was fascinating to see how they would take time to light the car. It was like an art form almost, a painting. His [cinematographer], Peter Suschitzky, is very precise in that way.

Robert was stunned to be taken by Cronenberg, because he didn’t think he could do it. But Cronenberg believed in him. It’s amazing—a director sometimes makes you do bigger things than you imagine. You need to have, like, a midwife to give birth. You need this midwife in order to grow, and imagine these new layers in yourself.

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What do you do in Cosmopolis, the next David Cronenberg?

I make love in the limo! Belonging to Robert Pattinson, fabulously wealthy man who wants it all and loses it all! It sounds like Cronenberg, doesn’t it? Director of photography, Peter Suschitzky, lights up each shot like a painting. Robert and I were alone in the car with a camera and a microphone, and we could hear David’s voice coming from a distance: we would redo a take, then another one, etc. There was something clinical about it, which for me was a change from Amos Gitai or Abel Ferrara.

Source | Via: cosmopolisfilm